Let me copy your bass practice routine

[FearNoEvil65]

In addition to all of the good suggestions above, I would add, find some music that you can really sink your teeth in to, and do a deep, deep dive. I take a cue from the cello master Pablo Casals. Now, I will never come close to being one quadrillionth the musician that he was, but I read about one of his practice regimens that I have somewhat incorporated into my practice routine.

Casals is credited with having rediscovered the Bach Suites for Unaccompanied Cello, when he was a young man rummaging through some old music in a shop in Barcelona in the early 20th Century. He became the master of them. His routine was to play one of the six suites (all five parts, preludes and dances) in rotation, everyday of his long life.

The cello suites are magnificent pieces of music. There is more than a lifetime’s worth of musical, intellectual and emotional exploration to be had.

I don’t play a full suite each day, but I do play parts of them pretty much every day. I play them on electric fretted or fretless, or on upright depending on which instrument I’m focusing on at the time. There is a joy (as well as frustration then joy) in learning and living with such pieces. Each time you play them you will learn something new, either about them or about yourself. It is only one part of my practice, but a part that I think I benefit from greatly. Most of the pieces have a few double and some triple stops, but mostly the musical lines are linear with the harmonies, counterpoint and polyphony being implied. Bach can teach us a lot about bass playing. I think it was John Entwhistle who said that Bach was the governor for all bassists.

I would recommend the cello suites to anyone, but it doesn’t have to be your muse. Just find some music in which you can find deep meaning, and live with it and really explore all of its nuances.

Good luck, and have fun!

What do you do with the 4th and 5th suites, I have them on sheet music but they are in Eflat and D minor? it looks like, the low Eflat isn't a thing on my 4 string.
Just curious if you transpose those notes?
I've read through all of Suite #1, most of 2 and parts of Suite 3.
Boy does it get harder, 4,5 and 6 are beasts!

 

[scrubhelmet]

I mainly practice songs and try to incorporate the metronome as much as possible now than in the past. Give me a breakdown on how long you spend on each subject you practice too. Subjects I’m primarily focusing on include rhythm and music theory.

find some music that you can really sink your teeth in to, and do a deep, deep dive.

I also initially learned bass by just deep-diving into the bassists that I like until it was possible for me to feel their groove and apply them or improvise with their groove.

I agree with what someone said: everyone follows their own path. Some artists will advocate one thing, another one will advocate something else. You can try one thing and if it works for you, then it's fine. If it doesn't, maybe you can make modifications to it or follow another way.

I spend anything between zero to three hours everyday. Music is not my day job but a hobby of mine, and I have two bands. So sometimes my time would be spent on practicing our songs when a gig's coming, sometimes it would be spent on learning jazz standards (since I'm currently trying to learn jazz and possibly for the rest of my life), sometimes I'll try to write a bass line for an original song that another band member wrote, sometimes I'd use the guitar to practice singing or write a melody in my head and then think of the chords.

Having said that, I've been playing the instrument for more than a decade, and I think my skills are satisfactory enough to be called by more bands and artists that I can accept. I still feel that there's a lot to learn when it comes to jazz bass tho, so it keeps me humbled and motivated to improve.

I only really do ear training, I'll flip the TV on and play with whatever the music on the show/commercials is

I remember one of the stories of my favorite bassist. His bandmate said he caught him spinning the dial on the radio randomly, then after stopping it, he'd try to learn the tune by ear as fast as he can (even for commercial).

This response was amazing better than me posting this same question on reddit

You'd find some amazing content here if you look hard enough, even the ones from early 2000s.

but not all time spent on the instrument is equal to your development

The collary is true: you can spend time on your development while you're away from your instrument. I remember a Tal Wilkenfield interview where she said she'd spend some time theory-crafting about music, then she'd try to do what she thought of once she gets to her instrument.

For me, when I want to think of a bass line for an original song, I'd listen to that song on repeat during the day until I'd hear a bass line in my head. Then I'd play the melody that I hear on my head the next time I get to the bass.

I also found that a cycle of passively and actively listening to songs and then not listening to music helps me with those random moments where I'd hear an original melody in my head, may it be a bass line or a tune.

There was also a time I'm playing a game on an Android app called Pitch Perfect. It has some exercises for Interval Training. I think I forgot to continue doing so when I started reading books about jazz bass lines and theory, but now I remember it...

 

[scrubhelmet]

Android app called Pitch Perfect

Just checked my phone. It's called Perfect Ear.

 

[Geogio]

Flexibility exercises (i.e. Physical Therapy) TBH I use a worn copy of Carl Culpeper 101 Terrifying Techniques For Guitar. It seems to hit the itchy scratchy spots. It is sort of over-the-top as method instructionals go.

I also sight read at an Intermediate/Advanced level and keep that honed. I use Hal Leonard intermediate scores from my trusty big band portfolio, and the of course a garage sale copy of Arbans for Trombone and Euphonium exercise book.

Effortless Mastery and Brainjo are good reads for all musicians.

 

[Kaa]

I just jam along with my iPad on tunes my (very) irregular basement band plays strictly for enjoyment. We suck, and we accept it. But, one day I shall hit my goal of not being the suckiest guy in the band. Don't be me.

 

[Shenron]

Im having trouble structuring my practice time, I haven’t been practicing scales as of late and I mainly practice songs and try to incorporate the metronome as much as possible now than in the past. Give me a breakdown on how long you spend on each subject you practice too. Subjects I’m primarily focusing on include rhythm and music theory. You can include extended techniques too like chords/double stops, harmonics, slap etc…

I don't have a practice schedule or structure anymore. I instead practice on a time-available and goal-oriented basis.

I did, on the other hand, have structured practice for years when learning and playing guitar. But the structure changed a lot of times over the years! So I am not sure if it makes sense for me to try and recall one of those at random, and post it here as an example...

Maybe you can post here what you think you should practice currently to achieve your next goals, and we can help you figure out a plan. "Rhythm" is way too vague to plan for.

Also, I don't quite understand what do you mean by "having trouble" really. Do you have a mid-term goal to achieve or are you just practicing anything? Do you have plenty of free time and trouble figuring out how to fill it, or do you have trouble finding the time in the first place? Or are you already spending practice time, but struggling to see improvements?

 

[Aussie Player]

Don't forget to include "speed" which also benefits "dexterity". Meaning with each hand.
Pick a few songs that challenge you and include them with your practice.

 

[Snipehunter]

I feel like there are three important categories.
1. Repertoire
2. Ear Training
3. Fretboard Knowledge

Here’s a process that would hit all three.

1. Pick a song on the radio and figure out the basic chord progression by playing just the roots. If that takes you longer than ten minutes it’s fine to get help but be sure you try for a bit. You’ll do it easily eventually.
2. Sing or hum the chord progression.
3. Memorize progression and be able to play along with the song using chord roots without looking at a reference.
4. Do this in different positions on the fretboard while staying in that position.
5. Play the progressions on each single string.
6. Play the pentatonic scale that would go with the song up and down the fretboard.
7. Figure out the chord qualities and play the chord progression as arpeggios with a metronome or drum machine in time so that you could be playing them along with the song. Again, all over the neck.
8. Play the major or minor scale that goes along with the song all over the neck. Some songs change keys so repeat all this stuff for key changes.
9.Play chord progressions with a drum machine. This time add in fills and passing tones derived from the scales and arpeggios you practiced.
10. Play along with the recording again and rock it! Pick out lines and fills by ear.
11. Now go play the song with your band or friends.

 

[biobass]

What do you do with the 4th and 5th suites, I have them on sheet music but they are in Eflat and D minor? it looks like, the low Eflat isn't a thing on my 4 string.
Just curious if you transpose those notes?
I've read through all of Suite #1, most of 2 and parts of Suite 3.
Boy does it get harder, 4,5 and 6 are beasts!

On a 4 string, I de tune the E string to Eb or D. I also generally play all the suites in the lower octave, not at cello pitch. I read them as if they were written for bass, ie sounding an octave lower than written. My electric basses only go up to either a high Eb or an F. For instance, Suite 1 in G major has a range of two octaves and a fifth. To play it at pitch, I have to resort to artificial harmonics, or some really cumbersome shifts with natural harmonics. I truly think that if Bach were alive to transcribe his Suites for bass, he would place them in the lower range of the instrument, just as he did for cello.

I totally agree Suites 5 and 6 are difficult, but ultimately worthwhile. And just to be clear, even after years of practice, I still don’t perform them out.

Note: in my edition, the scordatura for Suite 5 is written so that notes played on the a string of the cello (de-tuned to g) are actually position markers, rather than the sounding pitch. That threw me for a while!

 

[DownRound]

I only really do ear training, I'll flip the TV on and play with whatever the music on the show/commercials is

 

[MarkM13]

I derived my routine from "Scott's Bass Lessons" course. It really helped me focus my practice. Rather than try to explain it I'll attached a copy here.II found it helps get the most out of a practice session and aids in avoiding mindless noodling and calling it practice. Obviously you'd adapt each column to what you'd like to study (I'm a jazz guy as you can tell). However, it would be good to leave the "Technique" column in place. Also, the logged times are "Time On Task"; that is, actual practice. I jot the starting time down on a scrap of paper. If I need to do something like take a phone call, get a drink etc. I note the stop time. If I'm back in under 5' I don't deduct the time (a 5' break is actually very good) I make note of any time beyond 5' and deduct it from the total time on task. Its seems militant but you will not longer ask yourself why are you spending 3 hours in the woodshed and not getting better? Chances are that of those 180 min. (3 hours) on 60 or so were quality practice time.

Good luck and feel free to ask if anything doesn't make sense.

Mark